Top Box Office Movies - The Golden Snubs: Hollywood’s Forgotten Hopefuls

The Golden Snubs: Hollywood’s Forgotten Hopefuls

E-MAIL FRANK OCHIENG

January 22, 2008. Well, the Oscar nominations were finally announced and as usual there were the mixture of the obvious contenders as well as a few notable surprises thrown in for good measure. As expected, revered fare such as top cinematic products There Will Be Blood, No Country For Old Men (both scored eight nods each) and the obligatory costume drama Atonement were obvious choices to make the prestigious Oscar cut for consideration. However, one cannot have a satisfactory agreement on what was chosen without overlooking other viable contenders that should have been also recognized.

Moviegoers and critics alike love to address the injustices of their favorite movies and performers being snubbed at the expense of the fortunate selections that were spotlighted. Still, there are just so few slots for the Academy Awards to acknowledge every piece of impeccable screen work. Nevertheless, one could make the argument that perhaps their neglected choices could have replaced the current choices being celebrated. Whatever the case, the condition known as Oscar’s “Golden Snubs” will exist as long as there is an unredeemable casting couch in the echoes of Tinseltown’s sacrificial walls.

So let’s take a look at what was snubbed in the major categories, shall we? What are your preferences for Hollywood’s “forgotten hopefuls” that didn’t make the final round? Let’s get to the nitty gritty and see what the academy voters may have left on the backburner that deserves our constructive outrage.

The Surprise Packages: The only thing that makes up for some of our deserved picks not being praised in Oscar’s golden eye is the fact that there are selections that were actually invited to the big dance unexpectedly. Clearly, this is quite encouraging because these unassuming Oscar tag-a-longs could have been potential golden snub mincemeat. Among the “surprise packages” that are a relief to be relished come February 24, 2008 when the envelopes reveal the winners on Oscar night are:

-- Veteran actors Ruby Dee (“American Gangster”) and Hal Holbrook (“Into the Wind”) proving that their advanced ages and vast experiences in performing for decades is not a waste of creativity indeed. Both of these marvelous mature performers contributed admirably to their projects and it’s a tremendous joy for these thespians to receive their first Oscar nods in what has been a lengthy distinguished screen career for this particular tandem.

-- Although very popular and critically acclaimed, the indie teen pregnancy comedy Juno made its way into Oscar’s noteworthy radar (for best actress, best picture, best director and best original screenplay). This is a total shock because lightweight comedies with a social message aren’t considered potent enough to hang with the elite crop of competing films with an edgier pedigree. Thankfully, the ultra-quirky Juno had the solid acting, writing and direction to make it a critical darling to go up against the status quo of cinema’s “privileged”.

-- What a relief to see a reliable actress such as Laura Linney not being taken for granted. She managed to be included in Oscar’s inner circle when bigger fish could have been reeled in her place. Linney’s work in the under-appreciated The Savages was a sight for sore eyes and thank goodness the voters didn’t stiff the talented Linney out of this year’s impressive acting pool. Even a steady prospect such as Linney could easily get lost in the shuffle on occasion.

It’s nice to see that the category for Best Original Screenplay isn’t an all boys club this year. Amazingly, a trio of women round out this competition and skillfully so. Joining male counterparts Brad Bird (“Ratatouille”) and Tony Gilroy (“Michael Clayton”) will be the feminine forces of Juno’s Diablo Cody, The Savages’ Tamara Jenkins and Lars and the Real Girl’s Nancy Oliver.

The Snub-a-Dubs: Okay folks, here are some of the skipped goodies that Oscar left in its dismissive dust based on some of the main categories mentioned. Keep in mind that these snubs may be blatant to some but an afterthought to others. Among the ignored are:

BEST PICTURE

Personally, it’s inexplicable that the academy voters couldn’t think outside of the box and reward exuberant and excitable musical ditties such as Hairspray or the quaint Irish romancer Once. Robust westerners as The Assassination of Jesse James by the Coward Robert Ford or 3:10 to Yuma are glaring no-shows. The psychological thriller Zodiac is an undeniable slight. The stirring and articulate drama Starting Out in the Evening was virtually ignored despite showcasing some of the best performances of the year. Also, intriguing foreign thrillers as in Eastern Promises and the lavish family melodrama The Namesake came up short. Shockingly, Paramount Vantage’s Into the Wind didn’t figure into the thick of things at all.

BEST DIRECTOR

Strong Oscar-oriented preferences behind the camera should have been reserved for the likes of Into the Wild’s Sean Penn, Eastern Promise’s David Cronenberg, Lust, Caution’s Ang Lee, Starting Out in the Evening’s Andrew Wagner and Once’s John Carney. Also, Mira Nair’s The Namesake was visually and emotionally arresting. Although Atonement got the best picture nod (among other nominations), why is its director Joe Wright not nominated as best director?

BEST ACTOR

Naturally, it’s always a sexy guarantee to have touted big names as George Clooney and Johnny Depp leading the pack as they have proven themselves in Michael Clayton and Sweeney Todd respectively. However, the best actor pack could have also shared the wealth with such notable talents as The Namesake’s Kal Penn, Once’s Glen Hansard, Hairspray’s John Travolta, Lust, Caution’s Tony Leung Chiu Wai, The Savages’ Philip Seymour Hoffman, Talk to Me’s Don Cheadle and Music Within’s Ron Livingston. Specifically, the two leading male performances that got the true terrible shaft were Into the Wind’s Emile Hirsch and Starting Out in the Evening’s Frank Langella—a couple of career-defining turns that should have been in the automatic consciousness of academy voters and filmgoers alike.

BEST SUPPORTING ACTOR

The overlooked supporting players were just as stimulating as the ones that were earmarked for Oscar glory. Among the worthy candidates that didn’t get the green light were Into the Wild’s Brian Dierker, The Namesake’s and A Mighty Heart’s Irrfan Khan, Music Within’s Michael Sheen, Talk to Me’s Chiwetel Ejiofor, Juno’s J.K. Simmons and Eastern Promise’s Vincent Cassel. Fittingly, it would have been a grand gesture if legendary TV icon Andy Griffith got an Oscar nomination for his gruff pie shop owner in the delightfully melodrama Waitress. Apparently newly Oscar-appointed television vet Hal Holbrook (“Designing Women”) took the token aged spot away from Griffith but who’s complaining about Holbrook’s accomplishment?

BEST ACTRESS

Newcomer Nikki Blonsky from Hairspray would have been an inspired choice to head up this category despite her newcomer status to the big screen. Other capable candidates would have included Waitress’ Keri Russell, Once’s Marketa Irglova and Lust, Caution’s Tang Wei. Surprisingly, academy voters opted to not recognize Oscar-winner Angelina Jolie’s heartfelt turn as a widowed journalist trying to unravel the mystery behind her husband’s murder in a turbulent Middle East region in the true story A Mighty Heart. Some could make an argument that Atonement’s Keira Knightley was suspiciously passed over for Oscar’s affection.

BEST SUPPORTING ACTRESS

The best supporting actress race is already a wonder with the listed nominees in Cate Blanchett (“I’m Not There”), Ruby Dee (“American Gangster”), Saoirse Ronan (“Atonement”), Amy Ryan (“Gone Baby Gone”) and Tilda Swinton (“Michael Clayton”). However, let’s take a look at other names that could have joined and/or replaced any of the aforementioned actresses. Hairspray’s Queen Latifah or Michelle Pfeiffer could have been strong contenders. The Namesake’s Tabu was memorable and affecting as was the late indie actress/filmmaker Adrienne Shelly from Waitress. Talk to Me’s Taraji P. Henson is sassy and superb in her noted role as a supportive girlfriend of a conflicted radio DJ. Catherine Keener and Kristen Stewart are instrumental in their parts from Into the Wild. Curiously, Starting Out in the Evening’s Lili Taylor and Lauren Ambrose are grossly absent from this category which is quite bewildering. Plus, where’s the love for Sweeney Todd’s Helena Bonham Carter?

BEST ANIMATED FEATURE

Okay, so The Simpsons Movie isn’t what you would call a conformist cartoon. Still, why couldn’t this animated pop culture staple get the respect it deserves based on its staying power and popular continuance? The mere fact that The Simpsons is American television’s longest running prime time comedy (nineteen years and counting) should have garnered some consideration from the powers that be. And let’s face facts—The Simpson’s Movie was infectious in its warped naughtiness on the big screen and the irreverence never gets old for this demented ditty that still resonates after almost two decades of familial dysfunction.

BEST ORIGINAL SONG

How in the world could the Oscars not take into account Hairspray’s soulful, reflective and absorbing tune “I Know Where I’ve Been” sung by the movie’s supporting star Queen Latifah? There are many other choices that could have been pinpointed from Hairspray’s pleasing soundtrack...” I Can Hear the Bells”, “Welcome to the 60’s”, or “Mama, I’m a Big Girl Now”.

Click here to comment on this article or post your own thoughts.

Frank Ochieng
© TheWorldJournal.com

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